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Roman Numeral > Music Roman Numeral Analysis > Flashcards

Music Roman Numeral Analysis Flashcards

1
Q

v

A

Minor 5 chord

Dominant

Functions as 5th degree scale of natural minor.

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2
Q

bVI

A

Flat Major 6th Chord

Submedient

Functions as 6th degree of harmonic minor scale

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3
Q

V

A

Major 5th chord

Dominant

Functions as 5th degree of both Major and harmonic and melodic minor scales

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4
Q

IV

A

Major 4 chord

Subdominant

Functions as 4th degree of The Major Scale and melodic minor scale

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5
Q

viio. Or viio6

A

Diminished 7 degree chord

Functions as 7th degree of major, harmonic and melodic scales . It can also be substituted for a dominant chord because most theorist consider it really a dominant function and not a chord in its own right.

Diminished chords are almost alway in first inversion so this chord would usually be seen as viio6, this is due composers disliking the tritone produce when in both root position and second inversion. The bass must be doubled.

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6
Q

viio or viio6

A

seventh degree chord

Leading tone

Functions as 7 degree in harmonic minor melodic minor and major scale.

Notice it is not flat because the seventh is raised in harmonic minor. In addition all diminished chords are in first inversion with a viio6 or viio6/3 in four part writing plus the bass or 3rd is usually doubled.

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7
Q

bIII

A

Flat major 3rd degree chord

Mediant

Functions as third degree of natural minor scale

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8
Q

bIII+

A

Flat augmented 3 chord

Functions as 3rd degree of both harmonic and melodic minor scales. This chord though is often avoided in baroque music due to voice leading. Also in harmonic minor when it is used it is substituted with a bIII major instead of augmented.

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9
Q

vi

A

Minor 6 chord

Submediant

Functions as the sixth degree of major scale.

Any chord tone in minor can be doubled however root is best doubled then after 5th. If a chord tone has to be omitted than the 5th is preferably omitted.

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10
Q

iio or iio6

A

Diminished 2 degree chord

Supertonic

Functions as second degree of harmonic minor and natural minor

Usually in first inversion and the 3rd or bass is doubled

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11
Q

ii

A

Minor 2 chord

Supertonic

Functions as the second degree of both major and melodic minor scale.

Supertonic chords are considered with the subdominant family

The fifth of this chord is the sixth degree and since in melodic minor the 6th degree is raised this chord changes from diminished ii from harmonic minor to minor ii from melodic minor due to fifth of the chord being raised.

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12
Q

vio

viØ7

A

Diminished six chord

This chord functions as the raised sixth degree of melodic minor. I say raised sixth because in harmonic or natural minor the sixth degree is b or flattened.

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13
Q

bVII

A

Flat major 7 chord

Functions as the seventh chord in natural minor

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14
Q

V6/4

A

Second inversion Dominant or fifth degree chord. Usually functions as a passing six-four chord where 1 chord in root position is followed by the V6/4 chord than followed by 16 chord in first inversion creating a passing tone in the bass between the “C” note in I and the “E” note in I6.

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15
Q

I6/4 or i6/4

A

This is called a cadential six four chord. This will precede the fifth degree chord of the scale and is usually considered part of the the dominant chord. This chord can also occur after a secondary dominant preceding the chord to be tonicized.

No chord tones in second inversion should be omitted and the bass must be doubled.

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16
Q

V6/4

A

Second inversion Dominant or fifth degree chord. Usually functions as a passing six-four chord where 1 chord in root position is followed by the V6/4 chord than followed by 16 chord in first inversion creating a passing tone in the bass between the “C” note in I and the “E” note in I6.

17
Q

I6/4 or i6/4

A

This is called a cadential six four chord. This will precede the fifth degree chord of the scale and is usually considered part of the the dominant chord. This chord can also occur after a secondary dominant preceding the chord to be tonicized.

No chord tones in second inversion should be omitted and the bass must be doubled.

18
Q

V6 or v6

A

The fifth chord can be in first inversion however make sure the soprano or melody does not contain the leading tone, because the n first inversion chords any note can be doubled except leading tone.

19
Q

N or N6

A

Neopolitan Chord

This is in the predominant chord family along side subdominants, and augmented sixth chords as it precedes the dominant chord.

It’s root is built off the chromatically flattened root of the minor mode iio chord. The chord formula is b2^ 4^ b6^. This therefore creates a major chord and is usually in first inversion.

20
Q

viio

A

diminished 7 chord

Leading tone chord

Functions as diminished 7 chord in both harmonic no melodic minor scale as well as major scale.

21
Q

vio or vio6

A

Diminished 6 chord

Submedient

This chord functions as diminished 6 chord in melodic minor. Diminished chords are usually in first inversion with the bass doubled in voice leading

22
Q

bVII

A

Major 7 chord

Subtonic chord

Functions as major 7 degree chord in natural minor scale

23
Q

iv

A

Minor fourth degree chord

Subdominant

Functions as minor iv chord natural minor scale and harmonic

24
Q

Major 7 chord

M7

A

Found in

Major Scale
I/Tonic 
IV/Subdominant 
Natural minor
bIII/Medient
bVI/Submedient 
Harmonic minor
bVI/Submedient
25
Q

minor 7th chord

m7

A

Found in

Major
ii/supertonic 
iii/medient 
vi/submedient 
Natural minor
i/tonic 
iv/subdominant 
v/dominant 
Harmonic minor
iv/subdominant 
Melodic Minor
ii/supertonic
26
Q

mM7 minor Major 7th

A

Minor Major 7th

1 m3 5 M7

Found as i chord both in harmonic minor and melodic minor.

27
Q

+M7 Augmented Major 7th Chord

A

Augmented Major 7th Chord

Functions as the medient in both harmonic and melodic minor scale

Medient is the III+

28
Q

Half diminished 7th chord

minor 7th flat 5 chord

A

Minor flat 5 chord

Found in Major
viiØ7
Natural minor
iiØ7
Harmonic minor
iiØ7
melodic minor
viØ7
viiØ7
29
Q

Dominant 7th chord

Major minor 7th chord

A

Dominant function chord with an added b7th degree

Major scale
V7
Natural Minor 
VII7
Harmonic Minor
V7
Melodic Minor
IV7
V7
30
Q

Fully diminished 7th Chord

A

Fully diminished 7th

1 b3 b5 bb7

Found diatonically in harmonic minor as
viio7

31
Q

Major Scale Roman Numerals

A

I ii iii IV V vi vii

In 7ths

I  M7 
ii m7 " 
iii m7
IV M7
V  7 "can be altered with #,b 5th, 9th, 11th, 13th
vi m7
vii Ø7
32
Q

Melodic scale Roman numeral

A

i ii III+ IV V vio viio

In 7ths

i mM7 minor major 7th "melodic minor"
ii m7 "Dorian b2"
III+ +M7 "Lydian Augmented"
IV 7 "Lydian Dominant"
V 7 "Mixolydian b6"
vi Ø7 "Locrian natural 2"
vii Ø7 "Super Locrian"
33
Q

Harmonic minor scale Roman numerals

A

i iio III+ iv V VI

34
Q

Natural Minor Scale

A 
i m7
ii m7b5
bIII Maj7th
iv m7
v m7
bVI Maj7
bVII Dom7th
35
Q

Minor Scale Chords natural

A 
i 
iio 
bIII 
iv 
v 
bVI 
bVII

Roman Numeral (3 decks)

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